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About Numbered Notation

The numbers are the notes of a scale

Numbered notation (jianpu, 简谱) writes a melody as numbers instead of notes on a staff. You do not need to read music: take one small step at a time and press Play on any example to hear it while each number lights up. Sound only starts when you press Play.

Instead of notes on a staff, each note is a number from 1 to 7. They are the seven steps of the scale you already know: do re mi fa sol la ti. After 7 the scale starts again at 1.

The seven numbers with their names. Press Play and say each name as its number lights up.
Sing along: do re mi fa sol, and back down to do.

If you can sing do re mi, you can already sing every number from 1 to 7. Tap or click any number to hear just that note.

“1=C” tells you where to start

At the top left of the sheet you will see something like 1=C. It means the number 1 (do) is the note C, and every other number counts up from there. 1=G means do is G, so the whole tune sits a little higher. Nothing else changes: the same numbers make the same shape, only higher or lower.

1=C: do is C.
1=G: the same numbers, starting higher.

Not sure where C is? On a piano it is the white key just left of the two black keys. Or ignore the letter and start on any note that is comfortable for your voice: the tune only has to keep its shape. The − and + key buttons on a hymn page shift the key for you.

Dots make a note higher or lower

A dot above a number means one octave higher. A dot below means one octave lower. Two dots mean two octaves. No dot is the middle range, where most of a tune lives. The name stays the same; only the height changes.

The same number at three heights: dot below, no dot, dot above.
A tune that climbs: it starts on a low sol and ends on a high do.

How long each note lasts

Tap your foot at a steady pace: each tap is a beat. A plain number lasts one beat, so you sing a new number on every tap. Dashes, lines and dots change that.

A plain number is one beat

Four numbers, four beats: one number for each tap.

A dash holds the note longer

Each dash adds one beat. The 5 lasts two beats and the 3 lasts four.

A line underneath makes it shorter

One line is half a beat, so two underlined numbers share one beat. (Two lines are a quarter of a beat.)

A dot after makes it half as long again

A dot after a number adds half its length. The first 5 lasts a beat and a half, and the short 3 fills the rest of the second beat.

0 means rest

A 0 is silence for one beat. Keep counting and keep tapping, but do not sing. Dashes after a 0 make the silence longer, just as they hold a note longer.

Sing 1 3 5, stay quiet for one beat, then come back down. Rests light up too, so you can feel the pause.

Bar lines and the time signature

Tall lines cut the music into bars, each holding the same number of beats. The two small numbers at the start, like 4/4 or 3/4, say how many: 4/4 is four beats in every bar, 3/4 is three. The first beat of each bar is the strongest, so lean on it a little. A double line with a thick edge marks the end.

4/4: count 1 2 3 4, 1 2 3 4. The first beat of each bar sounds a little louder.
3/4: count 1 2 3, 1 2 3, the lilt of a waltz.

Curves: ties and slurs

A curve over numbers joins them. If it joins two of the same number, it is a tie: sing the note once and hold it for both. If it joins different numbers, it is a slur: sing them all on one syllable, gliding from one to the next.

A tie: the 5 is sung once and held across the bar line, six beats in all.
A slur: “Him” is sung on two notes, 3 then 2.

The words sit under the numbers

Each number gets one syllable, written right underneath it. A short dash after part of a word means the word carries on under the next number. If a number has nothing under it, it belongs to a curve or a dash: keep singing the syllable you are on.

Read left to right, one syllable for each number: Twin-kle, twin-kle, lit-tle star.

Repeat signs and 1. 2. endings

A bar line with two dots, :|, means go back and sing that part again, from the matching |: sign (or from the start if there is none). Sometimes the repeat has two endings. Sing ending 1. the first time; on the repeat, skip it and sing ending 2. instead.

Play it: you hear the 1. ending, the repeat, then the 2. ending. Watch the highlight jump back.

Minor keys: “6=A”

A song in a minor key, which usually sounds more serious or tender, is labeled like 6=A instead of 1=C. It means the number 6 (la) is the home note, here A. The numbers keep their usual names; the tune simply feels at home on 6 and often ends there. 6=A uses the same notes as 1=C.

It starts and ends on 6 (la), the home note. Listen to the darker colour.

Put it together: a line of a hymn

This is the first line of hymn 8, “Praise God, from whom all blessings flow”, written in numbered notation. Try the slow tempo first, and sing the words as each number lights up.

1=G in 4/4. Three silent beats, then “Praise” on beat 4. The dots under 7, 6 and 5 mean those notes dip one octave lower.

Check yourself

Four quick questions, with no score and no pressure. Tap an answer to see right away why it is right or wrong. You can always try another answer.

Tap the number that is held the longest.

Tap the 5 that is one octave higher than the first 5.

What does a 0 mean?

Under 1=G, which note is the number 1?

Try it on a hymn

You opened this from a hymn that has a Numbered view, so you can try it right now.

  1. Look at the top left of the sheet: the key, such as 1=D, and the time signature, such as 3/4.
  2. Find the first number and sing it. Then follow the numbers from left to right with the words underneath, one syllable for each number. Press Play in the player to hear the recording while you follow.
  3. Letters above the numbers (C, G7) are chords for a guitarist or pianist. Ignore them while you learn the tune.
  4. To be guided, open the Learn tab and press Play. Under Display, set Learn notation to Numbered (or choose Numbered on the Lead Sheet tab first). For hymns that have numbered lines, each line of numbers scrolls into view in time with the recording while a bouncing ball follows the words; other hymns show the piano notation there. The Speed menu slows it down.

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The Church’s one foundation

The Church Her Foundation

English833
1
The Church’s one foundation
Is Jesus Christ her Lord;
She is His new creation
By water and the Word:
From heav’n He came and sought her
To be His holy Bride;
With His own blood He bought her,
And for her life He died.
2
Elect from every nation,
Yet one o’er all the earth,
Her charter of salvation,
One Lord, one faith, one birth;
One holy Name she blesses,
Partakes one holy food,
And to one hope she presses,
With every grace endued.
3
’Mid toil and tribulation,
And tumult of her war,
She waits the consummation
Of peace for evermore;
Till, with the vision glorious,
Her longing eyes are blest,
And the great Church victorious
Shall be the Church at rest.
4
Yet she on earth hath union
With God the Three in One,
And mystic sweet communion
With those whose rest is won:
O happy ones and holy!
Lord, give us grace that we,
Like them, the meek and lowly,
In love may dwell with Thee.

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Ana Lara

United States

Jul 15, 2020

This hymn was written by a pastor of the Church of England, Samuel J. Stone, in 1866. It was during this period that there was much turmoil within the Anglican Church over a book written three years earlier by William Colenso, a liberal Anglican Bishop in which he attacked the historic accuracy of the Pentateuch. The book, “The Pentateuch and the Book of Joshua, Critically Examined, ” was greatly opposed by another Anglican leader, Bishop Gray. This dispute between these two leaders created a widespread controversy throughout the Church of England.

Samuel Stone was deeply troubled by this situation and in 1866 wrote a collection of hymns, “Lyra of the Faithful, ” containing twelve hymns based upon the Apostles’ Creed to combat against the liberalism that he felt would imminently divide and destroy the church. This hymn is based on the Ninth Article of the Creed which reads, “The Holy Catholic

(Universal) Church; the Communion of the Saints: He is the Head of this Body. ” It was Stone’s conviction that the oneness of the Church must rest solely on the Lordship of Christ as its head and not on the views or the interpretations of men.

The hymn soon became popular throughout Great Britain. It was translated into a number of languages, including Latin. Two years later all of the Anglican Bishops met together in a theological conclave known as the Lambeth Conference. Stone’s hymn was selected as the thematic hymn for that historical meeting. Samuel Stone became a prominent and prolific writer of hymns with his publications running into many editions. He wrote a total of seven books of verse and served in a committee which prepared the 1909 edition of the well-known Anglican hymnal, “Hymns Ancient and Modern. ” Today, however, this hymn is the only one which is still in general use.

Samuel Stone was born in Whitmore, Staffordshire, England, in 1839. After graduating from Oxford, he spent most of his remaining ministry in two parishes in London, where he became known as the poor man’s pastor. He spent his time ministering to the poor and underprivileged population in London’s East End where it was said “he created a beautiful place of worship for the humble folk, and made it the center of light in the dark places. ” He was known as a man of peerless character; he was generous towards the weak and needy and at the same time he fought vehemently for the faith which was being attacked in his day. Samuel refused to compromise before Higher Criticism and the evolutionary philosophies that were becoming increasingly popular. He believed in the Scriptures as the inspired Word of God. Samuel’s writings have been described as

“strongly outspoken utterances of a manly faith, where dogma, prayer and praise are interwoven with much skill. ”

Stone’s text originally contained seven stanzas. However, most hymnals today use his first, second and fifth verses; the last stanza is a compilation of the first four lines of both his sixth and seventh verses. His original third stanza is omitted in today’s hymnals:

The Church shall never perish! Her dear Lord to defend,

To guide, sustain and cherish, is with her to the end;

Though there be those that hate her, and false sons in her pale

Against the foe or traitor she ever will prevail.

The composer of this music, Samuel S. Wesley, was born in London, England, on August 14, 1810. He was the grandson of Charles Wesley and was recognized as one of the leading church musicians of his day. He received a Doctorate of Music from Oxford University when he was only twenty-nine years of age. He composed a great deal of church service music as well as original hymn tunes. This tune known as “Aurelia, ” taken from the word “Aureus, ” the Latin word for “golden, ” was originally composed for the hymn-text “Jerusalem the Golden. ” It was first matched with Stone’s text in 1868 for use at the Bishops’ Lambeth Conference.

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Mori Takashi

Kobe, Hyogo, Japan

Jul 1, 2020

I love this hymn very much- Whenever I sing this at our church, I always happy. May peace on the earth and unit to beat COVID-19.

In Japanese, it is called “主は教会の基となり(Shu wa kyokai no motoi to nari”and in Korean it is called “교회의 참된 터는”.

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Nancy Kierstead

Miamisburg, Ohio, United States

Jun 27, 2020

This hymn came to mind this morning as my Bible study group is beginning to study the book of Jude. Jude 1:3b ... ”I found it necessary to write appealing to you to contend for the faith that was once for all delivered to the saints. ” Our Christian one true faith as explained by Wesley’s notes - delivered by God to remain unvaried forever.

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Valerie

Chippenham, Wiltshire, United Kingdom

Jun 15, 2020

The Lord is faithfully waking me up to 'watch and pray' and has brought this hymn to mind this morning.... how apt are these words today when there is so much uncertainty and shaking of the nation's. Jesus truly is our one foundation, our security and hope is in Him alone!

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Godwin Christopher J

Vellore, Tamilnadu, India

May 29, 2020

I recollect this song sung in the Church dedication by Bishop Robert Caldwell at Idiyankudi, on July 6, 1880

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Mary Hughes

Scottsdale, AZ, United States

May 12, 2020

I am stunned to read in the comments here that others have recently awakened with this hymn running in mind, because I am here at this site for the same reason. I woke this morning hearing this beautiful hymn in my mind and heart.

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Shayo

South Ockendon, United Kingdom

May 2, 2020

I was hearing this beautiful song in my spirit as I was waking up from my dreams this morning!

Hallelujah!! Blessed be the name of the Lord most High!!!

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Chidirim Chitumogu

Gwarimpa, Abuja, Nigeria

Apr 24, 2020

I really love this hymn..

It gives me so much hope. The gates of hell will never prevail against the church 'the bride' of Christ.

It is one of my mind favorites too and evokes somany beautiful memories of my childhood and beautiful family devotion times. It's really the little things.. God bless my parents.

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Betsy

Barrington, RI, United States

Apr 11, 2020

This too was my mother’s favorite and was played at her funeral. We are so blessed to be part of the Church Universal!

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Karen Grun

Gretton, Northants, United Kingdom

Mar 8, 2020

My mother's name is Aurelia and when she got married she had this as one of the hymns. With referral to ' to be his holy bride'

Mum died yesterday and I hope to have this hymn played at her funeral.

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